Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Richard Danielpour – The Passion of Yeshua

A contemporary telling of the Passion story which uses texts from both the Christian and the Jewish traditions to create a very different viewpoint.

Les Talens Lyriques: 18th-century Neapolitan sacred works

In 1770, during an extended tour of France and Italy to observe the ‘present state of music’ in those two countries, the English historian, critic and composer Charles Burney spent a month in Naples - a city which he noted (in The Present State of Music in France and Italy (1771)) ‘has so long been regarded as the centre of harmony, and the fountain from whence genius, taste, and learning, have flowed to every other part of Europe.’

Herbert Howells: Missa Sabrinensis revealed in its true glory

At last, Herbert Howells’s Missa Sabrinensis (1954) with David Hill conducting the Bach Choir, with whom David Willcocks performed the piece at the Royal Festival Hall in 1982. Willcocks commissioned this Mass for the Three Choirs Festival in Worcester in 1954, when Howells himself conducted the premiere.

Le Banquet Céleste: Stradella's San Giovanni Battista

The life of Alessandro Stradella was characterised by turbulence, adventure and amorous escapades worthy of an opera libretto. Indeed, at least seven composers have turned episodes from the 17th-century Italian composer’s colourful life into operatic form, the best known being Flotow whose three-act comic opera based on the Lothario’s misadventures was first staged in Hamburg in 1844.

Ethel Smyth: Songs and Ballads - a new recording from SOMM

In 1877, Ethel Smyth, aged just nineteen, travelled to Leipzig to begin her studies at the German town’s Music Conservatory, having finally worn down the resistance of her father, General J.H. Smyth.

Wagner: Excerpts from Der Ring des Niebelungen, NHK Symphony Orchestra, Paavo Järvi, RCA-Sony

This new recording of excerpts from Wagner’s Der Ring des Niebelungen is quite exceptional - and very unusual for this kind of disc. The words might be missing, but the fact they are proves to have rather the opposite effect. It is one of the most operatic of orchestral Wagner discs I have come across.

Wagner: Die Walküre, Symphonieorchester Des Bayerischen Rundfunks, Simon Rattle, BR Klassik

Simon Rattle has never particularly struck me as a complex conductor. He is not, for example, like Furtwängler, Maderna, Boulez or Sinopoli - all of whom brought a breadth of learning and a knowledge of composition to bear on what they conducted.

Dvořák Requiem, Jakub Hrůša in memoriam Jiří Bělohlávek

Antonín Dvořák Requiem op.89 (1890) with Jakub Hrůša conducting the Prague Philharmonic Orchestra. The Requiem was one of the last concerts Jiří Bělohlávek conducted before his death and he had been planning to record it as part of his outstanding series for Decca.

Schumann Symphonies, influenced by song

John Eliot Gardiner's Schumann series with the London Symphony Orchestra, demonstrate the how Schumann’s Lieder and piano music influenced his approach to symphonic form and his interests in music drama.

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.

Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato

“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.

Vaughan Williams Symphonies 3 & 4 from Hyperion

Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.

Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig

This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.

Retrospect Opera's new recording of Ethel Smyth's Fête Galante

Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.

A compelling new recording of Bruckner's early Requiem

The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.

Emmerich Kálmán: Ein Herbstmanöver

Brilliant Emmerich Kálmán’s Ein Herbstmanöver from the Stadttheater, Giessen in 2018, conducted by Michael Hofstetter now on Oehms Classics, in a performing version by Balázs Kovalik.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

OPERA TODAY ARCHIVES »

Recordings

Richard Wagner: Lohengrin
19 Jan 2007

WAGNER: Lohengrin

These recordings prove decisively a well-known thesis: more or less realistic productions always age better than so called innovative modern productions which often only aggrandize the clichés of the time of their conception if one views them a few decades after their première.

Richard Wagner: Lohengrin

Peter Hofmann (Lohengrin), Karan Armstrong (Elsa), Leif Roar (Telramund), Elisabeth Connell (Ortrud), Bernd Weikl (Heerrufer), Siegfried Vogel (König Heinrich). Chor und Orchester der Bayreuther Festspiele conducted by Woldemar Nellson. Staged and designed by Götz Friedrich. Recorded at the Festspielhaus Bayreuth 1982.
Euroarts 2072028 [2DVDs]

Peter Hofmann (Lohengrin), Eva Marton (Elsa), Leif Roar(Telramund),Leonie Rysanek (Ortrud), Anthony Raffell (Heerrufer), John Macurdy (König Heinrich). Metropolitan Opera Orchestra and Chorus conducted by James Levine. Production: August Everding, set design: Ming Cho Lee. Recorded at the Met January 1986.
Deutsche Gramophon 073 417-6 [2DVDs]

 

This doesn’t mean that ‘the next swan’ puts in an appearance in the Everding production at the Met ( brilliant lighting does the job) but the designs and costumes transfer us to Antwerp in the early middle ages. Exact dating of the opera is even possible: between 919 and 936, as those were the years Heinrich der Vögler was German king (though to be honest, the duchy of Brabant, where this reviewer is living, only got its name some 150 years later). Anyway, the Met production’s sets and costumes are roughly apt for the period and Elsa at least, wears some robes fit for a duke’s daughter instead of the same ugly colourless night gown Friedrich and his team thought fit for the Bayreuth production. Peter Hofmann too looks far better in his fine Met costumes than in the now hopelessly dated half knight/ half astronaut plastic (or is it metal ?) he has to wear in Germany. Friedrich probably had some ‘democratic’ problems with the king being graciously attended to, and so he has the singer seated on the steps of the stairs among all the other nobles. At the Met the king gets his throne during his hearing and the scene all at once doesn’t look ridiculous anymore. Time and again one sighs at Friedrich’s solutions and with relief one returns to Everding.

The Bayreuth production, however, has one distinct advantage over the Met’s. Four years and a lot of heavy Wagner roles later have taken their toll on Hofmann’s voice. The shine of it has somewhat disappeared and there is more strain in the high register. Granted, there is more refinement and some fine piannismi phrasing too at the Met, but these don’t quite compensate for the loss of vocal strength. This doesn’t mean the Bayreuth performance is perfect. After all this is Wagner’s most Italian opera and the recordings of De Lucia and Pertile prove what an Italian tenor could do with it. I sorely miss the ‘morbidezza’, the sweetness and sensuality, a good tenor can bring to the role, and next to Sandor Konya, Hofmann pales. Leif Roar too has not improved in the few years between the two recordings. In Bayreuth he is an impressive Telramund and he sings with the dark-burnished sound apt for the role. At the Met his singing is often crude and soon becomes barking before degenerating into shouting. Siegfried Vogel too at Bayreuth is vocally more impressive than the Met’s John Macurdy, who has some flat notes. Both Bernd Weikl and Anthony Raffell (a name unknown to me) sing a sturdy and strong Heerrufer. I don’t think nowadays both houses are still able to cast this small role with such outstanding talent.

On the ladies front, however, the Met wins hands down. Karan Armstrong is rather passive and colourless compared with the bigger and more creamy sound of Eva Marton. Elisabeth Connell is a South-African soprano and therefore can more easily cope with the high tessitura of the role but she is no match for the acting and the rich secure top of Leonie Rysanek, stunning at age 60.Woldemar Nelsson is a solid Kapellmeister but already at the prelude there is an aura of magic lacking. James Levine, with his long experience in German and especially Italian opera, immediately plunges into the mystery of the score and keeps it up till the end of the opera. The Met’s orchestra and chorus too are on the same level as the Bayreuth phalanx. As often one wishes one could take the best of these two worlds but in the end Levine, Marton and the production give the Met’s performance a slight edge.

Jan Neckers

Lohengrin_DG.pngLohengrin_EA.png
Click image to buyClick image to buy

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):